Meissen Porcelain Bear, Johann Gottlieb Kirchner, Johan Joachim Kaendler, 1735

Pair of porcelain sugar bowls Meissen, circa 1748-1775 Marked with crossed swords and number “92” of the gilder They measure 5.11 in (13 cm) x 5.11 in ...

Majolica pitcher Antonio Maria Coppellotti Manufacture Lodi, circa 1735 Majolica decorated in cobalt blue monochrome It measures 7.36 in hight x 8.07 x 4.52 (h 18.7 cm x 20.5 x 11.5...

Johann Michael Bergauer (Simonsfeld, 1676 - Innsbruck, 1745 circa) Mechanical equatorial sundial Signed: Michael Bergauer Insprugg? Innsbruck? Ante 1745 Gilded and silvered brass; glass. Measures: closed 1.29 x 3.50 x 4.92 in (33 x 89 x 125 mm); open 5.19 x 3.50 x 3.81 in (132 x 89 x 97 mm). Weight: the sundial 0.49 lb (224 g); the case 0, 20 lb (95 g) Original wooden case covered in brown leather. State of conservation: very good. It has some signs of use. The spring that allowed for the two parts of the instrument to remain open is missing (absent even in the comparative specimens kept in museums). The sundial is composed of two overlapping plates hinged together on the north edge. The base plate is octagonal and is supported by three turned legs. The upper face is gilded and a compass with a magnetic variation index has been inserted. The rest of the surface is occupied by a rich decoration of engraved scrolls, centered around the inscription “Michael Bergauer Insprugg”. A foldable oval support with a plumb-bob is attached with a hinge on the southern edge. On the reverse of the base plate a table of the latitudes of some European cities (expanded with the vertical writing “Meiland 40” on the edge and “Rome” deleted) and of Jerusalem has been engraved. A Cam marked for 0 °-70 ° is applied near the northern edge. This can be adjusted to change the inclination of the upper plate according to the latitude; originally a spring, now lost, made it possible to keep the two plates of the clock open. The second plate is round, has a toothed edge and measures 3.26 in (83 mm) in diameter: it is slightly smaller than the octagonal base which it rests upon and overlaps when the instrument is closed. The recto is gilded and there are three concentric graduated circles engraved on it: - the outermost is the equatorial hour dial, numbered I-XII, I-XII; - the second-one is that of days 1-30 of the lunar month and has “Aetas lunae” engraved on it; - the third, silvered, is a subsidiary hour dial, with double numbering 1-12; originally it could have been rotated. The engravings of the first two circles are enameled in red. In the center - on the polar axis - there is an alidade, at the end of which is associated the silvered minute dial. This, in turn, is welded, perpendicularly, to a small disc, also silvered, with a triangular gnomon. The plate, alidade and minute dial are connected to each other by toothed mechanisms. Below is the procedure for measuring the time: 1) Adjust the Cam under the base of the clock, based on the latitude of your location; 2) Place the watch on a flat surface using the plumb-bob and with the side closest to the compass facing south; 3) Keeping the instrument still, manually rotate the alidade until the shadow cast by the triangular gnomon on the small silvered disc falls on the line marked below it; 4) The hour and minutes can therefore be read on the hour and minute dials set on the alidade respectively. Johann Michael Bergauer, who sometimes only signs his works as Michael Bergauer, was born in Simonsfeld, north of Vienna. His apprenticeship as a watchmaker took place in Landshut and he probably worked as a laborer in Augsburg before becoming a watchmaker at the court of Karl Philipp von der Pfalz in Innsbruck in 1708. In the following years, his repeated attempts to obtain Innsbruck citizenship are documented and, in 1721, he is listed as a resident. In 1724 he was admitted to the guild of watchmakers, with which however he had continuous problems. In 1732 he presented a "masterpiece". This is the last reference to his business; he must have died before or in 1745 because in that year his widow appealed to the City Council. The mechanical sundial...

Boxwood micro carving Deposition Central Europe, first half of the 18th century It measures: the sculpture 7.40 x 5.31 x 0.6 in (18.8 x 13.5 x 1.6 cm); w...

Sea monster Carrara marble mouth fountain Italy, late 16th century It measures 13.8 x 31.5 x 18.9 in (35 x 80 x 48 cm) State of conservation: some small evident gaps and widespread signs of wear due to outdoor exposure. The gray marks crossing it do not come from restoration, but are rather the natural veins of the marble. This work has some morphological characteristics typically associated with the iconography of the sea monster: an elongated muzzle, sharp teeth, protruding eyes, elongated ears, and a coiled serpent's tail. An in-depth series of studies on artistic depictions of the sea monster attempted to verify how this symbol evolved in antiquity in the European and Mediterranean contexts and how it gradually changed its image and function over time. The iconography itself is mutable and imaginative and its history is rich with cultural and artistic exchange, as well as the overlapping of ideas. This occurred so much that it is difficult to accurately pinpoint the "types" that satisfactorily represent its various developments. However, we can try to summarize the main figures, starting from the biblical Leviathan and the marine creature that swallowed Jonah (in the Christian version, this figure was to become a whale or a "big fish", the “ketos mega”, translation of the Hebrew “dag gadol”). Other specimens ranged from the dragons mentioned in the Iliad (which were winged and had legs) to "ketos” (also from Greek mythology), the terrifying being from whose Latinized name (“cetus”) derives the word "cetacean". See J. Boardman, “Very Like a Whale” - Classical Sea Monsters, in Monsters and Demons in the Ancient and Medieval Worlds, in Papers presented in Honor of Edith Porada, Mainz am Rhein 1987, pp. 73-84). In Italy the monster underwent yet further variations: it can be found in Etruscan art on the front of some sarcophagi representing the companion of souls, while among the Romans we find the “Pistrice” (cited by Plinio in Naturalis Historia PLIN., Nat., II 9, 8 and by Virgilio in Eneide: VERG., Aen., III, 427), which appeared in the shape of a stylized hippocampus or a very large monstrous cetacean and evolved into a hideous being with a dragon's head and long webbed fins. During the Middle Ages, the sea monster was the object of new transformations: at this time, it is often winged, the head is stretched like a crocodile, the front legs are often very sharp fins - sometimes real paws - until the image merges with dragons, the typical figures of medieval visionary spirituality widely found throughout Europe (on this topic and much more, see: Baltrušaitis, J., Il Medioevo fantastico. Antichità ed esotismi nell’arte gotica, Gli Adelphi 1997). In Italy during the 15th and 16th centuries, the revival of classicism - representative of the humanistic and Renaissance periods - led to a different reading of these "creatures". Indeed, the sea monster was also to find widespread use as an isolated decorative motif, especially in numerous fountains and sculptures where dolphins or sea monsters were used as a characterizing element linked to water (on this theme see: Chet Van Duzer, Sea Monsters on Medieval and Renaissance Maps, London, The British library, 2013). From the morphological point of view, the "sea monsters" of this period are mostly depicted as hybrid figures, in which the body of a mythological or real being (a hippocampus, a sea snake, a dolphin), is joined to a head with a rather indistinct appearance. It was usually characterized by large upright ears, an elongated snout, sharp teeth and globular, protruding eyes; a complex and indefinite figure, both from the symbolic point of view and from that of its genesis. The work we are examining is placed as a cross between the medieval sea serpent and the Renaissance dolphin, with stylistic features which recall the snake as often used in heraldry (such as the "snake" depicted in the coat of arms of the Visconti - the lords and then dukes of Milan between 1277 and 1447 - and which, for some, may be derived from the representations of the “Pistrice” that swallowed Jonah). In the search for sources, Renaissance cartography and in particular woodcuts should not be neglected. See for example the monsters of Olaus Magnus, from the editions of the “Historia de gentibus septentrionalibus” (“History of the peoples of the north”) and the natural histories of Conrad Gesner, Ulisse...

Parrot-shaped sculpture Psitaccus Dino Martens (1894 - 1970) Vetreria Artistica Rag. Aureliano Toso, 1953-1956 It measures 9.055 inches in height x 4.13 in x 5.90 in (23 cm, 10.5 cm x 15 cm) It weighs 1.997 lb (906 g) State of conservation: intact. The small glass sculpture...

MEISSEN MOST LOVELY ANIMAL FIGURINES: GROUP OF THREE DOGS Stunningly painted in most lifelike manner (the dogs are painted in dark and bright brown as well as red brown and white & black). Earthen base with Rocaille ornaments existing. Please note: The modelling of dogs' skin and creation of their lifelike impression were a most difficult procedure for modeler as well as for sculptor: This hard job could be done only by Meissen masters in 18th century. Designer: Johann Joachim Kaendler...

Meissen stunning figurine group: The Deal with Goose Model 720 Measures: height 6.69 inches (17.0 cm) width 6.69 inches (17.0 cm) depth 4.72 inches (12.0 cm) Manufactory: Meissen Hallmarked: Blue Meissen Sword Mark (glazed bottom) model number 720 / former's number 6 / painter's number 71 First quality  Dating: 19th century / made circa 1850-1860 Material: porcelain, glossy finish, multicolored painted Technique: handmade porcelain Style: Rococo Modelled by: Johann Joachim Kaendler...

A beautiful pair of heavy Meissen porcelain figures of Pug Dogs with gilt bell collars on blue ribbons.The larger Pug with attached pup. Exquisitely hand-painted with realistic tones and colors. Each Pug is wearing a vibrant blue color ribbon collar...

two (2) Meissen porcelain birds (bitterns), from 1743 model by German sculptor Johann Joachim Kändler (German, 1706-1774), each on a base of re...

Rare and excellent porcelain sculpture: Depiction of Venus, the Roman goddess of love and beauty (Greek: Aphrodite), as a young woman with her hair tied back at the nape of her neck,...

Gardener couple consisting of two individual figures. The female gardener wears rural rococo clothing: a dress with elaborate floral decoration and pinne...